Amidst the backdrop of anticipation, the Eastern Visayas Region VIII gears up for the forthcoming Regional Festival of Talents (RFOT) 2023, a dazzling showcase of cultural exchange set to unfold in the small town of Calbiga, Samar. This year's edition (also the first in 2 years), however, is marked by a notable shift in the centerpiece event, Bayle sa Kalye or Sayaw ng Kabataang Pinoy, as changes in the DepEd Memo no. 023, s. 2023 have compelled organizers to pivot from traditional street performances to simultaneous video livestreams.
While this adaptation is to ensure the safety of thousands of expected visitors and participants, opinions vary regarding its potential impact on the essence and dynamic spirit that has long defined this cultural extravaganza. As the region's artistic scene eagerly anticipate the unveiling of this novel approach, the question looms: Will this virtual transformation successfully capture the vibrancy and communal energy that Bayle sa Kalye embodies, or risk diluting the very essence that has made it an enduring symbol of regional talent and cultural unity?
More importantly, where is the "kalye" in an online "Bayle"?
Bayle sa Kalye is more than just a dance competition. It is a celebration of culture, history, and identity. It is a way of expressing the stories and struggles of the people through music and movement. It embodies the spirit of the Waray-Waray people, a tribute to the ancestors and heroes who once walked on these very streets. By moving Bayle sa Kalye online, the organizers are stripping away these meanings and values from the event. They are reducing it to a mere spectacle that can be watched on a screen, without any connection or interaction with the audience, the environment, or the community.
Online Bayle sa Kalye also poses several challenges and disadvantages for the participants and the judges. First, it limits the creativity and originality of the dance groups, who have to conform to certain technical specifications and standards for their videos. They also have to deal with issues such as internet connection, video quality, and editing skills. This also makes the judging process biased and unfair, as the judges cannot see the whole picture or feel the impact of the performance, as opposed to a live presentation. They might also miss some details or nuances that would otherwise be visible or audible only in a live setting.
Lastly, it disconnects the participants from their communities, who are supposed to be their source of inspiration and support. They cannot share their joy or pride with their families, friends, or neighbors who would normally cheer for them on the streets. They also cannot learn from or bond with other dance groups who would normally exchange ideas or experiences during the festival.
The organizers face the challenge of keeping the delicate balance between adapting to the new normal while also ensuring the safety of the participants and preserving the quality and integrity of the event. While limiting participants and spectators, enforcing strict health protocols, or utilizing outdoor venues could be viable options, the essence of this cherished tradition, representing our Filipino identity and resilience, deserves to be kept and protected as such. A recorded performance, although commendable in its attempt, falls short of capturing the true spirit of this age-old tradition. A "Bayle" without "Kalye" is not Bayle sa Kalye at all.
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